Jazz-Matinee - Gyedu-Blay Ambolley

in Music4 months ago

Born in 11th Street, Sekondi/Ghana

Far away for those wanting to walk — but very close for those wanting to listen.

11th Street in Sekondi, Ghana - the birthplace of a musician who's been successfully proving that music knows no boundaries for almost 35 years and having released 31 albums. Perhaps Gyedu-Blay Ambolley's intention with the title of his latest album is to remind us that inspiring music can be transported from nowhere in Ghana to the world.


11th Street in Sekondi, Ghana – der Geburtsort eines Musikers, der seit nahezu 35 Jahren und mit der Veröffentlichung von 31 Alben erfolgreich beweist, dass Musik keine Grenzen kennt. Möglicherweise beabsichtigt Gyedu-Blay Ambolley uns mit der Betitelung seines jetzt erschienen Albums darauf hinzuweisen, dass auch aus dem Nirgendwo in Ghana inspirierende Musik in die Welt transportiert werden kann.

Gyedu-Blay Ambolley, a guitarist, saxophonist and occasional singer, has always tried to combine Afro-funk with percussion-driven jazz, rap and danceable rhythms. Since his debut in 1973, he has performed with musical greats such as Fela Kuti, Ebo Taylor and E.T. Mensah, and is regarded as the guardian of the Simigwa style that once spread from Sierra Leone through Liberia to Ghana.


Gyedu-Blay Ambolley, Gitarrist, Saxofonist und gelegentlich auch als Sänger unterwegs, versuchte seit jeher den Afro-Funk mit dem von Percussion getragenen Jazz, dem Rap und tanzbaren Rhythmen zu vereinen. Seit seinem Debüt 1973 trat er mit musikalischen Größen wie Fela Kuti, Ebo Taylor oder E.T. Mensah auf. r gilt als der Hüter des Simigwa-Stils, der sich einst von Sierra Leone über Liberia bis nach Ghana ausbreitete.

This musical style was considered a stark contrast (some might even call it a protest) to the fox-trot and quickstep sounds favoured by the colonists. The sound of the horns, the cheeky and cheerful lyrics and the sounds of the guitar were suddenly fashionable. African music began to emerge, and later groups such as Orchstra Baobab and Ladysmith Black Mambazo were able to build on this.


Diese musikalische Stilrichtung galt als krasser Gegensatz (manche mögen es auch Protest nennen) zu dem von den Kolonisten bevorzugten Foxtrott und Quickstepp-Klängen. Der Sound der Horn-Bläser, frech-fröhliche Texte und Gitarrenklänge waren plötzlich angesagt. So entstand allmählich die afrikanische Musik, auf die später Formationen wie Orchstra Baobab oder Ladysmith Black Mambazo aufbauen konnten.

Gyedu-Blay Ambolley started singing with the Tricky Johnson Sextet in 1963 when he was just 15 years old. This was followed by working with highlife legend Sammey Lartey's Railways Band, then with Ebo Taylor's Stargazers and the Uhuru Dance Band. It was during this time that musicians such as Miles Davis, John Coltrane and Ella Firtgerald had their first lasting influence on his compositions.


1963, also mal gerade mit 15 Jahren, begann Gyedu-Blay Ambolley als Sänger beim Tricky Johnson Sextett. Es folgten Abstecher zur Railways-Band der Highlife-Legende Sammey Lartey, dann zu Ebo Taylor in den Stargazers und der Uhuru Dance Band. In jener Zeit beeinflussten dann auch erstmals Musiker wie Miles Davis, John Coltraine oder Ella Firtgerald seine Kompositionen nachhaltig.

Years before The Sugarhill Gang of Rapper's Delight, Ambolley was already incorporating rap into his songs. The albums 'The Sekondi Man' and 'Party Time' are the best examples of this. The call from concert promoters for this new, danceable music with jazz-funk elements outside Africa grew louder and louder. And so it wasn't long before the pampered audience in Montreau was able to welcome Gyedu-Blay Ambolley live on stage.


Bereits Jahre vor The Sugarhill Gang von Rapper’s Delight baute Ambolley den Rap in seine Songs ein. Bestens zu hören auf den Alben ‘The Sekondi Man’ und ‘Party Time’. Der Ruf der Konzertveranstalter nach dieser neuen, tanzbaren Musik mit Jazz-Funk Elementen außerhalb Afrikas wurde immer lauter. Es dauerte also nicht lange und das verwöhnte Publikum in Montreau konnte Gyedu-Blay Ambolley live auf der Bühne begrüßen.

Since 2017's 'Ketan', Gyedu-Blay Ambolley has been signed to Agogo Records. A connection that fits perfectly, as can be heard on the recently released '11th Street in Sekondi, Ghana'. The musician has also been honoured with the Lifetime Achievement Award from Charles R Drew University in Los Angeles and various honorary titles in his home country for spreading the Ghanaian tradition.


Seit ‘Ketan’ aus dem Jahr 2017 ist Gyedu-Blay Ambolley bei Agogo Records unter Vertrag. Eine Verbindung, die, wie gut zu hören auf dem jetzt erschienenen ‘11th Street in Sekondi, Ghana’, die bestens zusammenpasst. Man zeichnete den Musiker auch aus mit dem Lifetime Achievement Award der Charles R Drew University in Los Angeles und verschiedenen Ehrentitel in seiner Heimat, für das Verbreiten der ghanaischen Tradition.


Jazz-Matinee Chronik

All Jazz-Matinee performances
Ada Morghe, Alfredo Rodriguez, Alma Naidu, Alune Wade, Balimaya Projekt, Bai Kamara Jr. & The Voodoo Sniffers, Bebo Best & The Super Lounge Orchestra, Beat Funktion, Big Bad Voodoo Daddy, Blue Note Tokyo, Breakdown Brass, Candy Dulfer, Carlos Reisch & The Jazz-RAPertoire, Christmas-Jazz, Cécile McLorin Salvant, Club des Belugas, Cory Henry, David Peña Dorantes, De-Phazz, Debo Band, Dominic Miller, Dominique Fils-Aimé, Eartha Kitt, Emmet Cohen, Esther Sévérac, Fat Freddy’s Drop, Fixi & Nicolas Giraud, Footprint Project, Gare Du Nord, Galactic, Goran Bregović & The Wedding and Funeral Orchestra, Gypsophilia, Hania Rani, Imperial Tiger Orchestra, Ina Forsman, Indra Rios, Isaac Birituro and The Rail Abandon, Jazz meets Pop, Jazzkantine, Jeff Goldblum & The Mildred Snitzer Orchestra, Jembaa Groove, Jennifer Hartswick, Jungle by Night, Jungle Fire, Karen Souza, Kinga Glyk, Kyle Eastwood, Lady Blackbird, Lars Kutschke, Lee Ritenour, Les Égarés - Sissko, Segal, Parisien, Peirani, Lisa Bassenge, Liv Warfield, Lizz Wright, Love Songs,Madeleine Peyroux, Maik Mondial, Malika Tirolien, Martin Grubinger, Maya Fadeeva,Monika-Roscher-Bigband, Monkey House, Muito Kaballa, New Cool Collective, Nils Petter Molvær, Nostalgia 77, Paco de Lucia, Peter Lipa, Parov Stelar, Phat Phunktion, Quatro Nuevo, Ranky Tanky, Rebekka Bakken, Redtenbacher’s Funkestra, Roberto Fonseca, Robin McKelle, Rhythm Future Quartet, Shotnez, Ska-Jazz, Snarky Puppy, St. Paul Peterson, Sunbörn/The KutiMangoes,TaxiWars, The Bahama Soul Club, The Budos Band, The Crusaders, The Jazz Defenders, The Jakob Manz Projekt, The Jazzrausch Bigband, The Souljazz Ochestra, Triosence, Trombone Shorty, True Loves, Wanubalé, Wynton Marsalis & Eric Clapton

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@cervisia denkt du hast ein Vote durch @investinthefutur verdient!
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Excellent, this.
Yeah, I don't even know how to say it myself, but if it wasn't for Fema Kuti, who many African musicians have played with, then we wouldn't know about them either.
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I heard Ghanaian artistes are good
This is a proof
I enjoyed the performance

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Jazz - Rap

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These artistes are exceptionally talented

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I am definitely going to the check this music out

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